Crate for a Travelling Exhibition

 

I was accepted along with others on the basis of a proposal to exhibit with a travelling exhibition organised by the Scottish Glass Society.

This will be packed and unpacked by other people at least four times during the exhibition year. My experience with helping to pack up the Collect work exhibited by craftscotland showed me the need to prepare the packing properly.

I decided to build a crate with custom fittings to cushion the work from any damage. I felt when I finished that it was such a simple arrangement that others may benefit from a description of what I did.

The crate can be made from a variety of materials, of bourse, but wood is easiest for me.  I used some plywood offcuts to form the base and sides.  The ends were formed from 3 ply plywood with 19 by 45mm timber cut and nailed to it.

The side rail does not have to be so large as I made it - just too lazy to cut it down. The side rail allows the top to be screwed to the sides holding them from expanding or bowing with the pressure of the packing materials.

I then cut 50mm thick polystyrene sheets to fit the case. These were attached together with "U" shaped copper wire stuck into them. The shape to fit the glass was cut with a heated cutting tool. It is a bit smelly and smokey, but does the job. When the shape for the glass was formed, a 10mm sheet had a collar cut out to go around the rim of the glass.

Note that the packaging is also numbered so that each piece is put back into the crate in the order required for transport. When the base layer and cradle for the glass are placed in the bottom of the crate, the glass is added.

Now the crate is ready to have the wooden part of the work packed. This shows the piece with the glass in the wooden cradle with the packaging around the "slipway".

The packaging for the "slipway" is put into the crate separately from the glass and packaging. You can see there is a layer of polystyrene between the glass and the wood.

Then the "slipway" is inserted into its cradle.

The polystyrene had holes made with the hot cutting tool to correspond to the supports for the glass. The holes are larger than the supports, so there is no pressure on them during transport.

Again the packaging is numbered. The final packing pieces are to be added now. Still each has its number!


The major pieces of packing are now added ready for the topping out!

Next add the essential tools and spares. In this case the tool is a two way spirit level so the piece is placed horizontally and level.

Then there is the necessary photo to show how the piece is to be displayed.

Finally the list of contents and instructions on installation.



Now the lid can be put on and screwed down. Note the locating marks on the lid to show how it fits without having to run new pilot holes for the screws. The screws to be removed are noted with an "X".





Screwing together to be solid and ready for delivery.





If the instructions are followed everything should be secure for delivery to the buyer!

P.S:  It came back in one piece. Unfortunately it did not sell during the exhibition, but it did later.

How to make plinths for Fairs?

 Artist-led exhibitions make me realise why we pay commissions to galleries.

I spent a whole of a day making table-like plinths for the exhibition.

These are simple objects that require stability, must be plain to avoid competing with the object(s) on it, and - in our case - must be flexible and easy to store.

Based on two different design suggestions, I have constructed a table supported -but not attached - on a pair of right angle support legs. These legs are hinged so the whole can be closed and stored flat. As the legs are hinged, each pair can be combined to form a square plinth with the addition of a top.

The process of construction is simple too - although it does take time. The four I made took most of the day with the usual interruptions.

First you use a butt hinge to make the right angle supports. This is arranged so the support cannot open beyond a right angle:

When this pair of supports is screwed together, you place them on the up-turned top and place battens round the supports for security:

Finally, turn upright and paint.

Applying for Craft Fairs

The Application

Read the application guidelines

Read them carefully.  Make sure you note the exact requirements given in the guideline notes.  Most craft, design and trade events have very similar requirements - name, contact, background, CV, artist statement and images.

But to complete the information appropriately you need to do exactly as they request.  Complete all the questions. Send only the requested number of images.  Make sure you have sent them in the exact format they ask for.

You need to read between the lines of the application guidelines to understand best what the event is looking for.  They may be looking for production work, designer or lifestyle items, etc.  Reading between the lines will give you an indication of how to steer your application to attract the selectors attention.   This will help you present the written parts of your application in the light of the organiser’s objectives.  This will apply particularly to the CV.  It is here that your story of what, how and why you make glass will distinguish you from other applicants. Importantly, it will also apply to the selection of your images.  If your images fit the objectives of the event, you are more likely to be selected.

Show your best pictures

The most important part of your application is the images you send.  This, more than anything else, will count in your favour during the selection.  Of course, the written material still counts, but the first element is the images.

They need to be of professional standard, ideally taken by a professional photographer. When you are selected, these images will be used in promotional materials, for the press and for the exhibition catalogue. So, great photographs are more likely to get your work into the press for the event.  Conversely, if the images are not of press quality, they are unlikely to be selected.

The images should represent in detail the things you will be showing at the event.  They need to show an overview, with some variety, of what you do.  They should show your skills and quality of production.  Some idea of scale is essential.  This is where props can help.  You can use lifestyle settings which allows more items to be shown, but make sure your work is the focus of the photograph. 

Often it is best to photograph each work as a single item on a white background.  Well-lit studio photographs work well, but daylight settings on an overcast day can provide really good images with indirect light, as any harsh shadows are eliminated. 

The images need to be labelled – often in the file name – with your business name, title and short description. 

When preparing your application and images, make sure you update the website, because the selectors will be looking there for more information and images, especially of any previous shows you have been to and show there.  The freshness of the site’s appearance will have an influence on your selection.

Return your application on time

This is obvious, but not always done.  Take note of the application deadlines, and make notes in your diary as to when things need to be done to get the application to the organisers on time, or even early.

If the event is not a selective one, you need to get in early as applications are often reviewed as they come.  Juried events will have all the applications looked at on the same day, but give the organisers enough time to get the images loaded and co-ordinated with your application.  Remember that organisers get many applications, so you need to make it easy for them to like your work.

Get feedback

If you are not selected, you can review your application to see what you might do better next time.  The rejection letter may give you some information, if it is not a generic one.  It may be that there were just too many applicants, or too many with glass as their medium.  Did your work fit with the ethos of the event – e.g. traditional vs contemporary.

You can contact the organisers - politely – indicating theirs is a show you really want to get into because of its quality or other element that is complimentary to the event.  Your questions should be polite and ask for feedback on specific things, so it is easy for them to respond.  Many of these questions will be centred around what you could do differently to have a better chance of selection next time.

It is just possible a polite professional approach to getting feedback may take you off a waiting list and into the event. In any case, visit the show, if you can, to see how it looks and feels.

https askharriete.typepad.comask_harriete201212responsibilities-of-craft-show-organizers.html

The Organisers’ Views

Research

Show the event has been researched by indicating how your glass work will fit with the organiser’s objectives.  How does your quality of work fit with the other exhibitors?  Give evidence of stands and participation at other shows, especially on your website and social media.

Application

It is most important that the application guidelines have been read and adhered to.  You should include relevant personal information on what inspires you, where you work, the materials and techniques you employ – in short, your story.

Images

Present images showing a confident, original group of work rather than showing all your variety.  The pictures must be in focus, well lit, with clean backgrounds and with detail shots only were necessary.  Many organisers get four or more applications for each available stand, so the photography is essential to show the potential of your glass.

Have good, up to date images of current work on your up to date and professional website and social media.  Often your website will be considered for more information, especially their previous stands at other events.  It is often good to see images of previous stands at previous shows.

Review

Don’t take any rejection personally. Don’t give up.  Review why you were not successful – right fit to the event? Too many of your medium/style applied? Does your glass stand out from others? Perhaps you need more confidence in your work.

Finally

“Fit the criteria of quality, innovation, skill and dedication” [in your application]. Samme Charlesworth, Director of Breeze Art and Makers Fair in Cornwall.

Selectors Views

The administration

The selectors and the organisers work together to create a focused event with originality and quality of work with a combination of established and emerging makers.  They also want diversity of media and styles with a variety of price.  Applications which have not met the application guidelines will have been eliminated by the organisers before the selection process begins. 

Often the organiser will give the selectors the number of applications and the number of stands available, with an indication of how many per category.  Then the selection begins.  Sometimes a quick pass through the images will be the first stage, followed by a slower showing at which the selectors vote for inclusion, exclusion or possible (waiting list).  The waiting list (of around 20%) provides the organiser with some flexibility to fill gaps where selected people do not take up their place, review the balance between established and emerging makers, the balance of media represented, etc.

This administrative process shows how important images are in the selection process.  Only the people on the waiting list are ever likely to have the other parts of their application viewed by the selectors.  The text you provide in the application gets you to the selection or eliminates you at the first stage.

The Selection

The selectors need to be able to distinguish what the images show.  If you show only detail, it will be difficult to determine what it or its function is. Too many other items in the image make it difficult to determine which are the items for the show. Dark images do not show the glass at it best. Extreme contrast makes for uncomfortable viewing. Material of composition should be apparent in the images. Whether the glass is production or handmade needs to be obvious.  A combination of these failings will be likely to get your work rejected.

Your images should show a coherent group of work. Diverse styles and materials make it difficult for selectors to see a style or brand. A unity of theme for the group of images is needed.

Technically good images are essential.  Focus is absolutely essential.  Any camera shake or unfocused images will not be viewed favourably. Use the same level of resolution and format for all your images so that all you work appears on the same scale to enable the selectors to judge the size of the pieces in the images.

Images must be professional in appearance.  If your work is selected, the images may be used in promotion and  the catalogue.  So, it must be of a quality for reproduction in the news and design press. Busy backgrounds are distracting and not normally suitable for the press.  Lifestyle images must be clearly focused on the glass.  The surroundings cannot intrude on or dominate the piece of glass being shown.

Using models to display your work requires professional photographer to be effective.  Amateur photographs of pieces on models will not get selected.

Show your work at its best.  Close ups will show quality but only a small proportion. Present a few items to focus attention on the group of items you intend to present at the show.

One of the images you present to the selectors might be of you working on one of the glass pieces, or your packaging or branding in the context of a stand.

Emerging makers are more likely to have their website and additional information looked at.  So, it is vitally important that these are up to date with current work, and older work put into a subordinate section.

Quiet Craft Fairs

“A decade ago or so it was possible to predict sales from a craft fair, but that’s much harder now! It’s an unpredictable market out there right now for crafts and design products! … Even doing a show that was successful in the past might not be so good the next year.

All successful craft exhibitors confirm that they have to work harder to get sales and commissions, do more promotion in advance themselves, and follow up after a craft fair as more people delay their purchase decisions.”

Patricia van den Akker, Crafts Magazine July/August 2014 (page 26)

There are many reasons for quiet fairs. Among them is that the recession and recovery from it has created uncertainty among potential buyers.  House moves, which are big drivers of purchases, are less frequent. On the other hand, there is an increasing awareness of craft and handmade which has led to an increasing number of competing craft fairs.  Online selling such as Etsy creates a new kind of competition for craft fairs.

These and other developments are outside your control.  You can’t affect this. You need to concentrate on the things you can do to make things more successful.  

This is about some of the things you can do.

What Can I Do During the Event?

You will have done your research in choosing this event, which lead you to think it would be successful for you.  During the show you can do some things to help inform you about what to do now.

·        Is there good footfall?  What are the numbers to date compared to previous years? The organisers should be able to tell you how many visitors have come so far. You can make the comparison from your research on previous years.  Don’t panic.

·        Consider the composition of the people who are present.  Are the visitors the right people prepared to buy? What does the visitor profile seem to be?  Are there retail and wholesale buyers present? This is a good opportunity to engage with them for future orders if not present ones.  Networking is important and this is a time and place where you can meet a lot of people and discover reactions to your work, even if they are not buying.  Remember that your fellow stallholders can be part of that supportive network, and even sometimes be future customers.

·        Have you put out enough publicity?  Is there anything you can do now to get people to come before the close?  If you have a quiet time, you can use your social media outlets to tell people about your participation in the event.  Possibly you can offer an incentive for people to come to this show.

·        What does your interaction with the visitors that are at the event tell you? What interest and feedback are you getting? What questions are being asked? Which piece was is most popular? Think about rearranging the placing of your work to better reflect the interests of the visitors.  Can you follow up with the visitors after the show? Are you collecting their contact details?

·        Is your display right for the venue? Can you adjust your display to attract more visitors to the stand? Think about a white board for people to post their reactions to your work.  Which is most popular, for example?  Possibly a special offer is in order. 

·        Are the other exhibitors of a similar price level and quality?  If not, think of ways for your products to appear a better fit for the rest of the event.

·        Are the other stall holders having a quiet time too?  If they are, it may be a general problem with the event.  If you are performing less well than other stall holders, perhaps you have the wrong pricing, or glass products with perceived difficulties for transport.  Lots of packaging is necessary.  Offer a delivery or postal service, if appropriate.

Review the Event

Research – how good was your investigation of the event before you signed up?  

it’s crucial that you research craft fairs before you apply. Choosing the right events to suit your work can be difficult and there are no guarantees of instant return. Don’t be afraid to ask some probing questions of the organisers and past exhibitors.   Patricia van den Akker, Crafts Magazine July/August 2014, p.26.

There are a number of things you should look at to determine if this was the right event for your glass work. 

Organisers

Who organises the event? Look at their track record for this and any other events they organise.  There are sites for rating events that you can use such as Folksy’s.  You can look at Trip Advisor show reviews  for the visitor reactions.

Exhibitors

Who the other exhibitors are, or have been, is important in judging your fit within the group of exhibitors.  This information should be available from the organisers.  Are these your peers in price and quality?  Think about how you will both fit with them and stand out from them.

A good craft fair curator should make sure there’s a wide mix of things and not too many of the same.  David Andrews, And at What Cost

Visitor numbers and average sales

The organisers should be able to tell you of the number of visitors to previous events and at least the average sales of the event.

Visitor profile

Does the proposed event seem to be oriented to buyers?  If the craft fair is in support of a main event, you need to determine if your glass work will fit the apparent interests of visitors to the main event.  You may be able to make items that will interest them.  If the craft fair is the main event, you have a greater chance of the visitors being buyers.

The publicity may be oriented toward individuals, or to buyers for businesses and wholesalers.  These will each need different approaches.  The organiser should be able to tell you about the composition of the visitors for previous event.

Publicity for the event

Look at the publicity issued for previous events.  The organisers often give you this information.  This will provide an idea of what they produced and maybe how it was distributed.  Look at what local, and if appropriate, regional and national, press was obtained.  Did they get into lifestyle publications? What business and trade press was received?

Visit the event

If at all possible, visit the event.  This will give you a first-hand feel of the style of the event.  You will be able to see the range of exhibitors, the various styles of stands.  This will help you determine if this is an event you would fit into.  It also will  give you ideas to help design your exhibit. 

You can engage with exhibitors that appear to have a business of a similar size to yours to get the benefit of their experiences. You must be careful about this.  Be honest.  State that you are a potential exhibitor and ask if they have the time to give their experience about this event.  Approach them only when they are quiet.  Be aware of the need to avoid blocking other visitors from the stand.  Do not engage in long conversations.

If you can’t visit, look at the social media of the organisers and any exhibitors you know attended.  This will give some feel of the previous event. 

Location

This is about where the event is being held in relation to your location.  Do you need to travel and stay somewhere to attend, or is it near enough to avoid overnights?

It is also about where the event is located.  Venues range from dedicated events arenas to school gyms.  How easy is it to find? Is it signposted well? What are the parking facilities?  Look at the venue as though you were a visitor and decide on the suitability of the place.

Consider the timing

Craft fairs are held throughout the year, but those in the months leading up to Christmas most often get greater footfall and have a higher proportion of buyers.  Summer shows are influenced by the weather – a sunny day can take everyone to the beach or lakeside, but a stormy, rainy day can keep everyone inside.

Try to make your products relevant to the existing season or the coming one.  Think about opportunities people want for securing gifts relating to celebrations or awareness days.  Trade shows are often working 6 to 9 months in advance so the buyers can get the products into stock for the relevant season.

Promotion

This is not about what the organisers do, although that is important.  It is about what you do to generate interest.  There are going to be a lot of competing products.  You need to generate interest in people coming to your stand. 

My bugbear is exhibitors who expect footfall and sales and rely too much on the organisers. YOU need to do marketing & social media to get sales. – Patricia van den Akken, The Design Trust on Twitter.

You should be prepared to do a lot of social media work in the months and weeks leading up to the event.  You need to be telling people about your participation and preparation for the show.  You should make up a press release about the show and your participation in it.  Even if this is not taken up by the press, the material in it can be used for all the other marketing  you do.

You need to ensure that you provide the organisers with text and excellent photographs well before the deadline they impose.  If you have good images of your glass work and send them in plenty of time, you have a greater chance of being featured in one way or another.

After the Show

You need to consider what lessons can be taken from a quiet show.

Display

Review the layout of your stand.  Does it do justice to the quality of your glass work?  Think about what you can do to make the glass more eye catching – lighting, space for each item to breathe, clear pricing, arrangement, etc.  Make it clear what you do, what you make and why.

Product range

“When planning which products to sell at a craft fair, think 1) affordable, 2) achievable, 3) aspirational, and try to bring a range of products so you have all three covered.”  Folksy

This is applicable to all shows, perhaps with the exception of trade shows, where you need to concentrate on glass work that you can produce in quantity.  If you can produce a variety of glass with a group of price points, you will make it easier for buyers to choose.  Of course, you will need more items in group one, with a moderate amount of group two and only one or two of group three.

After a quiet fair you need to reflect on whether the glass range you brought was a fit for the event.  Were they relevant to location, suitable for the season, relevant to the event, suitable for a range of ages, etc. You need bring only the relevant products, not your full range of glass work.

Engagement

You need to review your performance at the show too.  Look at how you interacted with the people who did stop by.  You need to be sure you maintain a friendly appearance throughout.  Did you enjoy your conversations with visitors?  If not, you need to work on picking up on their cues.  You need to get them talking about themselves and their interests to be able to direct them to the appropriate glass.  Are you approachable?  Being at the front of your stand is important to drawing people in.  Showing your enthusiasm for doing your glass is important, because people like a story about the maker and her glass.  This helps engage people with your work and may lead to purchases.

Transport

Glass is heavy, and perceived to be fragile.  You need to find ways to overcome these resistances to buying.  Some things you can do are:

• excellent packaging (bring lots);
• a pick-up service (after they have paid and given their contact details) before they leave the event;
• after show delivery by post or courier. 

There will be others that you can think of too.  Signpost these services, so people know while they consider their purchase.

Payment

It is essential that you are able to take card payments.  You can use PayPal.  There are a number of companies that either have short term hire of terminals, or do not have monthly charges (although their percentage take is a bit higher).  Without electronic payment facilities, you will lose many sales.

Reflect on the Benefits of Attending Events

Feedback

You get direct feedback on your work, its pricing, and how it fits with people’s lifestyle.  You can learn of misunderstandings about your glass and so correct or anticipate them in the future.  Conversations at shows can be vital in guiding the direction of your work.

Networking 

Communicating with other stall holders makes a community of interest and support.  Also, potential customers can be discovered at shows and some of them may be the fellow stallholders. Making good relations with them has the potential to get write-ups about you from them in their discussion of the fair on social media, just as you may and should write about them even though they don’t do glass.

Meeting people that can promote your work

There is a great variety of people who are not buyers but are looking for things and people to write about.  This is great publicity.  The craft press attends shows looking for items of interest to their readers. Bloggers increasingly are writing about people they discover at events. Stylists, interior designers and influencers are also milling about.  You will not always recognise them from their badges, but treating everyone with enthusiasm for your glass work will include them.  They may give you feedback at the show or be available afterwards to contact and learn of their views.

Stockists

Shows are good places to meet stockists, who may be retailers, shops, galleries, wholesalers and others who want to stock your glass.  Take details and follow up all of these contacts.  You should be prepared for these people by having price lists and  professionally produced publicity material under the counter to give to them.  Business cards are essential.  If you offer one, you will get theirs in return.

Future sales 
It is not only stockists that you need to keep a list of contacts.  Get the details of all the interested people and contact them after the show and in the future when appropriate.

I do believe that craft fairs and events are still one of the best marketing tools for creative businesses. They help you to build your profile, to reach many potential clients in a short period of time who can get to know you a lot better, and events can really boost your confidence too.

But … you do need to … promote yourself! Even if your contacts are unable to attend the event it’s crucial that you let them know through a series of emails, blog posts and social media. Events are one of the best ways to stay in touch with your potential clients!

An event invite can be a great tool to drive more traffic to your website and get online sales instead.

Selling events aren’t there just to get sales but are also a way to stay in touch with potential clients, to increase your profile, and to get new contact details for your database. Start a database and stay in touch. And by following up you can often turn a quiet craft fair into a pretty successful one!

Patricia van den Akker, Crafts Magazine July/August 2014 (page 26)

Take advantage of quiet events to reflect on what you can do during the show and after the show to make for better outcomes in the future.  Reflect on your research of the event.  Consider location, timing, relation to a main event or awareness week or month.  Look at your promotional effort leading up to the show.  Consider how to improve your marketing.  Remember that even a quiet show can provide great contacts and that follow-up with the people you have met can garner purchases.  Not everything is about the immediate monetary returns.

Engaging Visitors

The main point of attending craft fairs and other events is to sell your glass.  The way to sell is to engage with the visitors to the show.  They have come to view, and have an interest in buying.  Your job is to get them to stop, look and buy (or at least leave their details in anticipation of a future purchase).  There are some things that are necessary to think about before attending the event so that you get the best opportunity to sell your glass by talking with the visitors.

Sit or stand - where?

Where should you place yourself at your stand?  If you place yourself behind the display of your glass, you will find it difficult to talk with your customers - especially if you have built upwards.  Additionally, there is a barrier between the two of you that is as much psychological as physical. 

I recommend you stand at the side or in the front of your stand.  This enables you to move about and hand things to the customer for their appreciation.  It is much more welcoming than seeking refuge behind the display.  If the stand is deep enough, you can build in a “U” shape and you don’t have to stand in the aisle.

Should you sit or stand? If you are sitting - whether in front or behind the display – you are much less likely to catch the visitors’ attention, and less likely to see the interest of the visitor.  At an all-day show, you will need sit sometimes.  I recommend a high stool or folding bar style chair.  This elevates you more toward standing height and shows you as more alert.

Should you bring something to do? My response is that your job while at a show is to sell.  You do this through engaging with the visitors.  That is very difficult to do if you are doing something, even if it is demonstrating a technique relevant to your glass.  Any use of the phone should be minimised.

 

When to talk and what to say

One of the most difficult things for makers to do is to make the conversation that will lead to a sale begin.

Greeting

The first part of engaging a visitor is to smile say hello. This provokes a response in the other person and often they come to the stall.

Often these people have a question or comment that initiates the conversation.  That gives an indication of what their interest is.  If they don’t start the conversation, observe what glass pieces take their interest.  That gives the cue to talk about those items – inspiration, benefits, good locations for display in their house, etc. You will be able to gauge people’s interest, and if it is small, a conversation will not start.  But when people are interested, there will be a back and forth exchange.

Initiating the conversation

You can practice the beginnings of a conversation by placing a few of your glass pieces in front of you.  Look at them as much as you can as customer.  What will they miss by just looking at the piece?  That is what you need to start talking about your glass work – materials, methods, origins, inspiration.  If they can see it, you don’t need to say it.  Ideally, you want to put the work into the customer’s hands so they can get the feel of it while you talk about it.  You will be able to judge the interest by the way they view and handle it.

Engage one customer and more will come

People are attracted to a crowd.  If you can get some people stopping and engaging with you and your stand for a while, it will attract others.  The job then is to pay attention to the others who you are not actively speaking to.  Eye contact and acknowledgement of their interest goes a long way.  You can’t afford to spend long with any one person in this situation.  You will quickly learn the cues the really interested give, and the ones the “time wasters” give out.  The casual browser can be left with something to look at or to do while you move on to the other people, with a promise to come back to the first person.

Selling

“But I’m a maker not a salesperson…”  The point to make here is that you do not need to do a hard sell.  Your approach should be more about presenting and describing the work.  You and your stand need to be attractive.  You have a well-presented stall.  Now you need to complement that in your dress which may reflect the colour theme, or your style of working – both of which need to be neat.

There are a number of elements that can be used in selling which are not of the “salesperson” variety.

Descriptive approach

This is about the conversation again.  You know your glass and the field.  You can talk about it knowledgeably. That is the best element in selling. To that you add being enthusiastic, honest, empathetic and good at listening and understanding what might be causing any resistance to a purchase.

Use your knowledge

As a maker skilled in your craft, you already have knowledge – after all no one knows your product better than you. So, approach ‘selling’ as an artist explaining the thoughts and processes that have moulded your designs. Remember that one of the reasons people enjoy buying handmade at craft fairs is the experience of meeting the person who made it. By engaging with customers, you are adding even more value to your products.

Confidence in your work

Of course, selling is a lot easier if you’re confident. You do have confidence in your glass even if not in selling. Use that confidence and enthusiasm for your work and allow it to communicate to the visitors.  Of course, if you are uncomfortable talking about yourself, you can make up a poster giving your story – your inspirations, your business, your methods.  This will often provoke questions based on what you have written. 

After all, the visitors might be shy too, and need a peg for starting the conversation. You will need to make text brief and in a large font to be easily read.

Hearing what the visitor wants

Much of selling is about listening and having a genuine interest in the customer.  You can ask about their experience of craft – do they perform any, wear any, own any craft? Maybe ask about who they are buying for.  Always listen to them, don’t interrupt.  Build on their contributions to the conversation.

Selling may not be your forte, but there are a number of simple approaches that will improve your engagement with visitors to your event.  Using these, and others that you will develop, will improve your enjoyment and your sales at the craft fair.

Displays for Small Tables

Frequently small or busy craft fairs provide a relatively a small space or table to display your glass.  This means you need to make an impact with little area in which to do it.

There is also guidance elsewhere, but these are some basic ideas to get you started thinking about how to use the space you have and make your presentation stand out.

credit: CountryHeartandHome

Make your display like a shop window display

Think about how a shop with small windows works to display things to attract your attention.  Use your stand to display a single theme or style (sometimes called a brand).  Present your key pieces in a complementary but muted background.  Co-ordinate colour, or shape, or function.  Do not put everything out at once.  Give each of your glass pieces space.  Keep extra stock behind or under the table to meet the need for different colours, sizes or shapes.  Give your pieces space to be appreciated individually. The more unity you can give to your display, the more chance you will get the attention your glass deserves.

Be imaginative in your use of display materials

Think about props you have around the studio or in your home that can complement your glass.  Look for things that fit your style of work, or the theme you are presenting.  It is the unusual, but complementary coverings and props that can help you stand out from the other displays.

Height provides interest and space

You might consider a self-supporting stand that can be placed on the table and provide shelves for your glass – as long as they are stable.  You can drape appropriately sized boxes that you brought the stock in to give height to the display.  If the boxes are appropriate, you can use them bare as platforms or shelves, depending on the arrangement.  Always think about ways to build higher, but secure, displays for your glass.  After all glass looks best with light coming through rather than flat on a table.

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Make your display fit the glass you make

Think about what is needed to show your glass off to its best.  Mostly this will be vertical with light filtering through.  Vertical light behind or in front of the glass is good.  This is to avoid dazzling the visitor rather than displaying the glass.  It may be that jewellery is best flat, although earrings can be stunning with light behind.  You can consider constructing something that does not need a table.  Look for inspiration at the kinds of displays used by retailers to save space.

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Create the illusion of space

Use light colours for table coverings and display materials.  It gives a sense of space, that black does not. Using the same colour throughout gives a sense of unity in the display.

Tablecloths are most often used because they are easy to transport, but they are not the only portable material to use.  You could consider rolls of paper, foam board, and other materials to give a clean minimalist base for the display.

What more could be done with that space behind?
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Space behind your stall

Often there is a backing to the stall.  Make use of it if it is there.  You need to determine in advance from the organisers what backing there is to the stall you will be allocated.  If there is a wall or other partition, make sure you leave it as you found it.  You can also think about providing your own stall backing with the organiser’s permission.   Using the back of the stall increases the space you have to display your glass.

There are many ways to utilise small spaces at craft fairs. Your imagination will be the only limit.  Think of shop displays, build up, give your glass space, ensure good lighting, use the back of your space.